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Singin’ in the Rain: A Transitional Film to Talkies, Assignments of History of film

Singin’ in the Rain is a 1952 musical romantic comedy film directed by Gene Kelly and Stanley Donen. The film is set in Hollywood in the late 1920s and portrays the transition from silent to talkies films. the impact of sound on visuals and the effort and equipment required to produce such effects. It also highlights the dancing and singing scenes in the movie and the illusion of a romantic scene produced on the soundstage with no visible sound. a detailed analysis of the rain dancing scene and its significance.

Typology: Assignments

2021/2022

Available from 05/10/2023

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Singin’ in the Rain was directed by Gene Kelly and Stanley Donen in 1952, a transitional film to
“talkies”. This is a musical romantic comedy film set in Hollywood in the late 1920s, with three
stars playing actors trapped in the transition from silent to "talkies" films. The film demonstrates
how adding sound to visuals brings out all of the excitement of song and dance. It also implies
that such effects need a significant amount of effort and equipment.
Singing in the Rain has a cheerful, witty, and energetic vibe. As viewers, I was satisfied with the
lovely and witty choreography of Don Lockwood and Cosmo Brown. Their rhythmic footsteps,
skillful guitar breaks, and a bit of fun magic have helped them become stars on big stages. As
the transition to the talkie’s era, the silent stars lose their power. Don's glorious vision is followed
by the life of a high-class artist that is sought after by the media and fans. I am quite interested
in the dancing and singing scene in the movie. For instance, the song “Good Mornin” was
outstanding, this shows the talent of the three of them, especially Kathy and unlike Lina Lamont,
who has a humorous accent and is high-pitched.
Let’s take a look deeper into the sound in this movie. "Ladies and gentlemen, I am speaking to
you..." is the initial phonic orientation. The sound of the asynchronous announcer carries across
the audience and appears to address the viewer straight. Before moving on to the gathering of
listeners, the second shot emphasizes the similarity between the visual and the soundtrack.
Furthermore, when it comes to the radio announcer, the image of the microphone is crucial in
that mise-en-scene. In Singin' in the Rain, the illusion of a romantic scene is produced on the
soundstage with no visible sound. Don's touches, such as turning on the wind machine, are all
accompanied by a non-diegetic musical flourish.
It was especially obvious when Don was letting Kathy off at her house and singing in the rain as
a guy in love. Don's transformation of an umbrella into a joyful display of his love for Kathy was
a delightful sight to enjoy. After watching the emotional rain dancing scene, I cannot be happier.
The rain represents a new beginning, a new life that washes away all of his prior sadness.
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Singin’ in the Rain was directed by Gene Kelly and Stanley Donen in 1952, a transitional film to “talkies”. This is a musical romantic comedy film set in Hollywood in the late 1920s, with three stars playing actors trapped in the transition from silent to "talkies" films. The film demonstrates how adding sound to visuals brings out all of the excitement of song and dance. It also implies that such effects need a significant amount of effort and equipment. Singing in the Rain has a cheerful, witty, and energetic vibe. As viewers, I was satisfied with the lovely and witty choreography of Don Lockwood and Cosmo Brown. Their rhythmic footsteps, skillful guitar breaks, and a bit of fun magic have helped them become stars on big stages. As the transition to the talkie’s era, the silent stars lose their power. Don's glorious vision is followed by the life of a high-class artist that is sought after by the media and fans. I am quite interested in the dancing and singing scene in the movie. For instance, the song “Good Mornin” was outstanding, this shows the talent of the three of them, especially Kathy and unlike Lina Lamont, who has a humorous accent and is high-pitched. Let’s take a look deeper into the sound in this movie. "Ladies and gentlemen, I am speaking to you..." is the initial phonic orientation. The sound of the asynchronous announcer carries across the audience and appears to address the viewer straight. Before moving on to the gathering of listeners, the second shot emphasizes the similarity between the visual and the soundtrack. Furthermore, when it comes to the radio announcer, the image of the microphone is crucial in that mise-en-scene. In Singin' in the Rain, the illusion of a romantic scene is produced on the soundstage with no visible sound. Don's touches, such as turning on the wind machine, are all accompanied by a non-diegetic musical flourish. It was especially obvious when Don was letting Kathy off at her house and singing in the rain as a guy in love. Don's transformation of an umbrella into a joyful display of his love for Kathy was a delightful sight to enjoy. After watching the emotional rain dancing scene, I cannot be happier. The rain represents a new beginning, a new life that washes away all of his prior sadness.

Additionally, an invisible chorus on the soundtrack accompanies the film's final introspective moment, pausing on the billboard advertising the opening of Singin' in the Rain. Personally, Singin' in the Rain Film is a great mix of image and sound. The music in the film is not only delightful but also outstanding. Works Cited Corrigan, Timothy, and Patricia White. The Film Experience: An Introduction. Bedford/St. Martin's, 2021. “Rain” Blogathon–“Singin. https://whimsicallyclassic.wordpress.com/2017/04/02/rain-blogathon- singin-in-the-rain-1952/. Accessed 4 May 2022. Gene Kelly. https://www.theatlantic.com/entertainment/archive/2019/11/singin-rain-jeanine- basinger-movie-musical-excerpt/601363/. Accessed 4 May 2022.